Preface: Jasminka Babić

Setting: Vitold Košir

At the beginning of the 21st century our minds are filled with information, our senses are bombarded, so that soon these five that are at our disposal won't be enough. All of this is right. We live and create in accordance with the times we created ourselves. Nevertheless, it is a great relief when someone or something, in this case a piece of art, puts us back in the gear we belong to. Simplicity and purity of the form of Košir's sculptures evoke some ancient, in these multimedia and hyperproductive era nearly forgotten qualities. In former works slightly hidden mystical touch, that directs us towards something behind, inside, something before, has become explicit in this Košir's work. By placing seven monolithic iron sculptures in the circle, the artist connects the elements filled with symbolic meaning, and creates the impression of absoulte completeness as well as continuity.

It is interesting to observe the way Košir through his work simultaneously reflects upon sculptures as self-sufficient objects, their mutual relationship and finally their relationship with the exhibition area (frame of a gallery). In 'Glagoljska misa' he adopts the gallery, modifies it by evoking the interior of the sacral architecture, and in the process he creates the recognisable ambience. Košir's ability to set sculpture in conceptually and visually meaningful entity is evident also in his recent works. In the exhibition area he creates, although not using as explicit associations, almostconsecrated space that lends nobility to a bare, somewhat sterile situation in a gallery. (...)

Jasminka Babić

Vitold Košir was born on February 19th, 1966 in Zagreb, Croatia. He graduated from Classic Gymnasium in Zagreb. In 1989 he graduated sculpture from the Academy of Fine arts in Zagreb, class of prof. Šime Vulas. He graduated viola from the Zagreb Music Academy in 1991, class of prof. Zlatko Stahuljak. Employed by the Symphony Orchestra of the Croatian Radio Television.